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This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

January 29, 1922 - Image 19

Resource type:
Text
Publication:
The Michigan Daily, 1922-01-29

Disclaimer: Computer generated plain text may have errors. Read more about this.

(By T. E. D.)
Symphony orchestra? There is
way to learn to appreciate
r much of it!" said Ossip GE
tsch after the Detroit Symp
iestra concert Monday night,
ed just what musical educati'
ught necessary for an appreci
ymphony music. The questio
mpted by the apparent failu
lents on the campus to appr
remarkable offerings of the
t orchestra.
They must go to symphony
ts if they hope to be able t
ciate them," he continued,
h music is not to be understo
t hearing."
The trouble with so many
es, everywhere, is that they
concert, and because it doe
ke an immediate sympathetic
them, they throw up their1
ing that they cannot appreci
that they haven't the musical
ion to understand it, and d
again.
No one can understand music
t basis. People go to a co
r their fifty cents or dollar
ect to have an evening of
ss music served them while
a back in their seats and liste
mpossible.

Lppreciation of Symphony Music
failure. It is helpful if the audience music two or three times to gain any evident control over men the more
only can know the music. To play the insight into it. That is the way it powerful.
. selections over on the phonograph or, slowly grew upon the public, and it is In contrast to .the appearance he
it- with a knowledge of piano to learn now making rapid progress." makes on the stage, Mr. Gabrilowitsch
abril- something of the piano score of the Mr. Gabrilowitsch when speaking is not tall, but of average stature and
shony works, is the best way to become ac- impresses his hearer with the sense a wiry build. His hair is in wild con-
when quainted with them. But this is not that he knows his subject. He does fusion in a sort of halo about his head,
on he essential. The audience needs only not answer questions immediately but and not so profuse as it appears in
to create an atmosphere of interest, when he does, he uses concise state- his pictures. His face is thin, and
iation of attention, and of trying to appreciate ments and has a definite point in view. shows signs of intense work.
n was the work, and it will understand the He speaks excellent English, with only But it is his hands that impress one
re of concert. Nothing else is necessary. a slight accent; his sentences are most of all. They are long and thin,
eciate Go to concerts, try to get the spirit well-formed; all of his speech is to and his fingers, which he spreads apart
of the work, and you need not talk of the point and spoken with an authori- just before he shakes hands, are al-
De- a 'musical education.' That is a musi- ty which commands attention. It is most phenomenally long. And one
cal education." not dignity which commands attention, gets just a fleeting impression of an
con- Mr. Gabrilowitsch believes a good however, but simplicity and direct- immense power in them as he grasps
o ap- part of the failure of the public, to get rness that make his personality and one's hand in a firm handshake.

"for
od at
audi-
go to
s not
chord
hands
ate it
edu-
o not
from
ocert,
and
high
they
n. It

"All appreciation of music is based
on a conscious effort on the part of
the hearers to understand the work
of the artists. They cannot stand on
a platform and simply by playing, for
instance, a wonderful symphony, force
it down the throats of an entirely inert
audience. Music cannot be under-
stood or appreciated that way. An at-,
mosphere such as is created by an
audience which has come only to be
amused by the artists is the most dis-
couraging element possible in a con-
cert, and one which leads to the great-
est misunderstanding.
"This is even more true of symphony
music than of any other type. The
orchestra is but half the concert. The
audience is the other half, and with-
out that other half any concert is a

the right attitude in concerts is often
due to the effects of jazz, the movies,
and modern musical comedies. While
he does not condemn them, he says:
"This attitude is due, in a large
measure, to the fact that so many of
the amusements today do not require
any effort on the part of the audience.
The jazz music lowers the taste of
those who can like good music if they
are given it, while it keeps those who
might like good music if they had no
other from enjoying it. People are
not used to anything but the jazz and
when they go to hear good music
it is tiresome to them.
"The musical comedies and moving
pictures accustom their audiences to
the simplest kind of enjoyment and
set no standards of interpreta-
tive effort on the part of the audiences.
The result is, people cannot con-
ceive of the audience at a concert as
having any part in the program.
Modern music is making good pro-
gress in America, Mr. Gabrilowitsch
believes, and his program Mondayl
night evidenced that belief in concrete
form..
"Modern music," he said, "is mak-
ing its way now into a popularity
much greater than its first receptions
would ever have allowed anyone to
hope for. They were very discourag-
ing. Take the Scheherazade, of to-
night, for instance. Do you suppose it
was a success when it was first pro-
duced?~ It was an utter failure!
"You have to hear most modern

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